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Digitized  by  the  Internet  Archive 
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Columbia  University  Libraries 


https://archive.org/details/casabonitahouseoOOasso 


CASA-BONHA 

A  HOUSE  OF  TILES 
BUILT  AT  THE  SESQUI 
CENTENNIAL  AS  AN 
EDUCATIONAL  EXHIBIT 


ASSOdATED  TILE  HANLIFACnjREBS 

^  BEAVER  FALLS,  PENKA 


N 


Casa  Bonita 
A  House  of  Tiles 


/Associated  Tile  Manufacturers 
Beaver  Falls,  Pa. 

^  ftVERY  LIBRARY 
COLUMBIA  UNi  Ai,-li  i 


] 


Spanish  Dining  Koom  Niche 


2 


CASA-BONITA 

A  HOUSE  OF  TILES 
BUILT  AT  THE  SESQUI 
CENTENNIAL  AS  AN 
EDUCATIONAL  EXHIBIT 

ASSOCIATED  TILE  MANUFACTURERS 

BEAVER  FALLS.  PENNA  ^ 

A.  D.  PICKETT,  ARCHT 


(g) 


Copyright  1926  by 
Associated  Tiie  Manufacturers 


CASA  BONITA 


) 


)r/ 


All  Tiles  Furnished  by 

y^ssociATED  Tile  Manufacturers 


Alhambra  Tile  Co . 

American  Encaustic  Tiling  Co.,  Ltd.  .' 

Beaver  Falls  Art  Tile  Co . 

Cambridge  Tile  Meg.  Co . 

Grueby  Faience  &  Tile  Co . 

Matawan  Tile  Co . 

Mosaic  Tile  Co . 

National  Tile  Co.  . 

Old  Bridge  Enameled  Brick  &  Tile  Co. 

Olean  Tile  Co.  . 

Perth  Amboy  Tile  Works  .... 

The  C.  Pardee  Works . 

United  States  Encaustic  Tile  Works  . 
Wheeling  Tile  Co . 


Newport,  Ky. 
Zanesville,  Ohio 
Beaver  Falls,  Pa. 
Covington,  Ky. 
Perth  Amboy,  N.  J. 
Matawan,  N.  J. 
Zanesville,  Ohio 
Anderson,  Ind. 

Old  Bridge,  N.  J. 
Olean,  N.  Y. 

Perth  Amboy,  N.  J. 
Perth  Amboy,  N.  J. 
Indianapolis,  Ind. 
Wheeling,  W.  Va. 


Acknowledgments 


WOOD  FURNITURE 

Palmer  &.  Embury  Mfg.  Co.,  New  York  City 

WROUGHT  IRON  FURNITURE 
Oscar  B.  Bach,  New  York  City 

ELECTRIC  REFRIGERATOR 
Delco-Light  Co.,  Dayton,  Ohio 

ELECTRIC  STOVE 

Armstrong  Mfg.  Co.,  Huntington,  W.  Va. 

LIGHTING  FIXTURES 

Todhunter,  Inc.,  New  York  City 
Oscar  B.  Bach,  New  York  City 
Skinner-Hill  Co.,  Inc.,  New  York  City 

SHIP  MODEL  &  BRONZE  SPECIALTIES 
Skinner-Hill  Co.,  Inc.,  New  York  City 


SHOWER  EQUIPMENT 

Speakman  Co.,  Wilmington,  Del. 

NICKEL  SILVER  DOORS 

Crist  Si.  Schilken  Co.,  Pittsburgh,  Pa. 

RADIO 

Radio  Corporation  of  America,  New  York  City 

FIREPLACE  EQUIPMENT 

Todhunter,  Inc.,  New  York  City 

PLUMBING  FIXTURES 

Standard  Sanitary  Mfg.  Co.,  Pittsburgh,  Pa. 
Kohler  Co.,  Kohler,  Wis. 

Crane  Co.,  Chicago,  III. 


4 


ASSOCIATED  TILE  MANUFACTURERS 


THAT  fine  old  Quaker  City  of  Philadelphia  an  exposition  commem¬ 
orating  one  hundred  hfty  years  of  American  Independence  is  nearing 
its  close.  But  this  exposition  celebrates  more  than  an  unique  historic 
event;  it  commemorates  as  well,  the  progress  that  America  has  made  in 
that  time. 

Just  fifty  years  ago  a  similar  exposition  was  held  in  Philadelphia, 
and,  strange  as  it  may  seem,  this  exposition  was  held  the  same  year 
that  witnessed  the  birth  of  the  Tile  Industry  in  the  United  States. 
To  commemorate  httingly  this  fiftieth  anniversary  of  the  industry,  the 
Associated  Tile  Manufacturers  erected  at  the  Sesqui- Centennial 
a  charming  little  pavilion  which  they  have  been  pleased  to  call  '‘Casa 
Bonita  de  Azuhjos"  (Pretty  House  of  Tiles),  and  in  this  delightful  little 
Casa^  which  reflects  the  graceful  lines  of  the  colorful  Moorish  architec¬ 
ture  of  Old  Spain  and  North  Africa,  has  been  installed  one  of  the 
most  interesting  and  instructive  displays  of  tile-work  ever  brought 
together.  Come  with  me,  in  spirit,  for  a  ramble  through  the  house. 

Entering  the  Casa  under  the  pointed  Moorish  arches  with  their  blue 
and  gold  decorations,  one  finds  himself  in  a  restful  room  of  soft  gray 
tiles,  with  interesting  trimmings  in  salmon  pink  and  dark  blue,  and 
containing  a  charming  fireplace  with  wonderful  decorative  inserts. 
The  lace-like,  perforated,  ceramic  grilles  in  the  wall  suggest  a  means 
whereby  our  ultra-modern  and  none-too  beautiful  heating  units  may 
be  hidden  from  view. 

Just  beyond  this  room  is  a  “dream”  of  a  bath,  in  blue,  red,  black  and 
gold;  the  wonderfully  luminous  blue  dominating;  the  black  recalling 
the  lustrous  sheen  of  Nubian  marbles.  A  sparkling  decorative  scroll 
motif  in  blue  and  gold  forms  a  wainscot,  while  narrow  gold  bands 
dehne  the  wall  panels.  Features  of  this  room  are  the  interesting  lava¬ 
tory,  constructed  of  small  blue  tiles,  and  the  tub  enclosure,  also  of  tiles, 
which  recalls,  both  by  its  position  and  its  design,  the  delightful  baths 
of  proud  old  Roman  Pompeii. 

Beyond  this  and  to  the  right  is  a  clean,  sparkling,  tile  bath  for  those 
who  love  the  glistening  purity  of  white  tiles,  and,  at  the  left,  a  bath¬ 
room  in  black  and  white  with  a  cool,  “grotto,”  shower-compartment 
in  white,  lavender  and  gold. 

The  Living  Room  in  the  centre  of  the  House  is  a  dream  in  buff  and 
blue  tiles  set  in  a  soft  cream  plaster.  Here  one  senses  the  possibilities  of 


CASA  BONITA 


colorful,  sanitary  tiles  as  door  and  window  trim  and  catches  the  won¬ 
derful  decorative  qualities  of  this  noble  material,  even  when  used 
sparingly  with  rough-cast  plaster. 

Behind  the  rich  velour  curtains  either  side  of  the  vestibule  at  the 
rear  of  this  room  are  to  be  seen  other  handsome  solutions  of  the  Ameri¬ 
can  bath,  while  the  vestibule  with  its  wainscot  and  door  trim  of  red, 
black  and  grey  leads  one  to  a  glimpse  of  a  delightful  New  Mexican 
^atio  at  the  rear  of  the  House. 

Beyond  the  Living  Room  is  a  colorful  Spanish  Dining  Room  that 
re-echoes  the  delightful  decorative  motifs  of  historic  Casa  del  Greco 
at  Toledo.  Features  here  are  the  wall  recess,  lined  with  tiles,  and  used 
as  a  china  cabinet,  and  the  interesting  radiator-seat  under  the  window, 
with  its  handsome  faience  grille. 

At  the  rear  of  the  Dining  Room  is  an  interesting  compartment  in 
light  blue,  red,  buff  and  black  which  shows  the  wonderful  possibil¬ 
ities  of  the  heavier  colors  in  interior  decoration,  and  beyond  this  is  a 
“dream”  kitchen  which  every  American  housewife  may  today  enjoy 
for  the  asking.  The  clean  white  tile  ground  of  thewalls  are  here  relieved 
by  two  blues,  a  light  and  a  dark.  The  ample  sink  of  light  blue  and 
cream  tiles  with  recessed  soap-dishes  in  the  splash-back  is  a  new  devel¬ 
opment  in  the  application  of  sanitary  and  everlasting  tiles  to  the 
equipment  of  the  kitchen.  While  the  general  feeling  is  that  of  the 
“colonial-Georgian”  Period,  the  simple  rehnement  of  the  kitchen  of 
tiles  makes  it  applicable  to  a  home  of  most  any  style  or  lines. 

In  leaving  the  display  we  pass  out  into  a  sand-paved  Pueblo  patio. 
Here  are  shown  for  the  hrst  time  in  history  those  age-old  symbolical 
motifs  of  our  own  far  West,  executed  in  the  older  ceramic  medium  of 
the  Orient.  Such  a  patio  might,  in  the  old  days  have  greeted  a  weary 
traveler  to  half-Spanish,  half-Indian  Santa  Fe.  One  would  love  to 
linger  in  such  a  purple-shadowed  courtyard  to  dream  lazily  of  the 
romantic  days  of  Coronado  and  his  trek  across  the  painted  plains  in 
quest  of  the  Seven  Golden  Cities  of  Cihola! 

But  why  dream  when  we  of  today  have  more  material  comforts  than 
all  the  gold  of  the  seven  fabulous  cities  could  ever  have  bought?  Rather 
should  we  muse  at  the  wonderfully  efficient  way  in  which  art  on  one 
hand — the  art  of  the  colorist  and  designer — and  science  on  the  other — 
the  science  of  the  chemist,  ceramist,  and  engineer — have  succeeded  in 
recreating  for  us  the  priceless  ceramic  heritage  of  the  past  and  in  mak¬ 
ing  it  function  in  the  life  of  today.  Truly  a  splendid  achievement  for 
hfty  years  and  one  appropriately  celebrated  in  colorful  Casa  Bonita! 

Rexford  Newcomb,  A. I. A. 


6 


ASSOCIATED  TILE  MANUFACTURERS 


7 


TS/iain  Facade,  of  Spanish  Influence  in  the  Moorish  Manner 


CASA  BONITA 


8 


Fireplace  in  Tudor  Reception  Hall  Front  Entrance^  from  the  Tudor  Reception  Hall 


ASSOCIATED  TILE  MANUFACTURERS 


9 


A  Wall  Treatment  in  the  Tudor  Reception  Hall 


CASA  BONITA 


10 


Sunken  Bath  Tub  of  Pompeian  Type  Tiled  Lavatory  and  Perfume  Cabinets  in  a  Modern  Bathroom  of  Pompeian  Trend 


ASSOCIATED  TILE  MANUFACTURERS 


11 


S-panish- American  Living  Room 


CASA  BONITA 


A  Five  Foot  Bathroom  in  the  Franciscan  hAanner 


12 


ASSOCIATED  'FILE  IVI  A  N  U  F  A  C  T  U  R  E  R  S 


An  attractive  Bathroom  in  White,  Green  and  Gold 


13 


CASA  BONITA 


A  Doorway  in  the  Spanish- American  Living  Room 


14 


A  S  S  O  C  I  A  T  ED  T  I  I.  E  M  A  X  U  F  A  C  T  U  R  E  R  S 


Hollov>i 

Ti\e 


'flo  At 
Co<^t- 


HlAD  JAMb 


Concrete^  i 

CU 

Details  of  Shower  Doorway 


A  Toilet  Room  in  White  and  Dark  Gray 


T'le  6oAp  Dish 
<^r\d  C^rip 


[)r.>in 


Cen+er  Line 
of  6hower  He^d 


s 

1 

Door  or  CurhMO 

Typical  Plan  of  Shoiver  Bath  Compartment 


Shower  Compartment  of  Toilet  Room. 
Note  Grille  Tile  Ventilator  in  Ceiling 


15 


CASA  BOXITA 


Spanish- American  Living  Loom  Fireplace  with  Open  Grille  for  Radio  Loud  Speaker 


16 


ASSOCIATED  TILE  M  A  N  U  E  A  C  T  U  R  E  R  S 


17 


CASA  BONITA 


Above:  Window  Seat  in 
Spanish  Dining  Hoorn. 
Note  Tile  Grille  to  Serve 
Heating  Element 
Underneath  Seat 


Door  Treatment  in  Spanish  Dining  Hoorn 
18 


D  T  I  I.  E  M  A  N  U  F  A  C  T  U  R  E  R  S 


Modern  Breakfast  Room  in  a  Cheerful  Tile  Ensemble 


19 


CASA  BONITA 


20 


Spanish  Dining  Room  in  the  M-oorish  Nlanner 


M  A  N  U  F  A  C  T  U  R  E  R  S 


ASSOCIATED  TILE 


f  ri 


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j  • 


21 


Modern  American  Kitchen  tvith  Glazed  Tile  Sink  and  Cupboard 


CASA  BONITA 


Ftteblo  Indian  Doonvay 


Garden  Entrance  to  Indian  Patio 


mm 


hooking  into  Indian  Hall  from  Patio  Piled  Bench  in  Pueblo  Indian  Patio 


22 


ASSOCIATED  TILE  MANUFACTURER  S 


->iL  5  .yjammuoA^i; 


Garden  Elevation  of  Casa  Bonita  in  the  Pueblo  Indian  Manner 


CASA  BONITA 


Rear  Exterior — Perspective  of  Garden  Elevation  Pueblo  Indian  Eacade 


24 


ASSOCIATED  TILE  MANUFACTURERS 


The  interest  evidenced  by  architects,  draftsmen,  specihcation  writers  and 
other  visitors  to  this  exhibit,  in  the  kinds,  colors  and  textures  of  the  tiles  used, 
as  well  as  in  the  motifs,  has  prompted  us  to  show  the  details  of  each  of  the 
rooms  illustrated  in  the  foregoing  photographs.  These  details  are  shown  on 
the  following  pages. 

The  entire  exhibit,  and  each  room,  is  full  of  suggestive  material,  and 
intended  to  furnish  an  idea  of  the  limitless  decorative  and  utilitarian  possi¬ 
bilities  of  tilework. 

Nearly  all  of  the  tiles  in  this  exhibit  are  produced  by  more  than  one  of  the 
Associated  factories.  For  this  reason  it  is  not  practical,  nor  is  it  deemed  neces¬ 
sary  to  designate  the  names  of  the  producer  whose  tiles  were  used  in  each  case. 

Samples  of  the  tiles  produced  by  members  of  the  Associated  Tile  Manufac¬ 
turers  may  be  obtained  through  tiling  contractors  anywhere. 


25 


CASA  BONITA 


26 


ASSOCIATED  TILE  M  A  N  E  A  C  T  U  R  E  R  S 


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CASA  BONITA 


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29 


CASA  BONITA 


30 


ASSOCIATED  TILE  MANUFACTURERS 


31 


CASA  BONITA 


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32 


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Stockton,  Calif. 


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iWEMORY  OF 
HENRY  OGDEN  AVERY 
ARCHITECT<^:XL/6)(Ovc>^ 
BORN  THIRTY- FIRST 
JANUARY  MDCCC  L II 
DIED  THIRTIETH  APRIL 
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'-":<2/EVe>3-HIS  PARENTS 
SAMUEL  P  AVERY  AND 
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HAVE  FOUNDED  THIS 
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THE  C. 


PARDEE  WORKS 

INCORPORATED  1895 

Manufacturers  of 

WHITE  BRIGHT  GLAZED  WALL  TILE, 
WHITE  AND  COLORED  CERAMICS, 
GRUEBY-FAIENCE,  AND  FLINT  TILE, 
WHITE  AND  COLORED  SATIN 
FINISH  TILE 

Exclusive  United  States  Agents  for 

ROYAL-DELFT  FAIENCE 


FACTORY 

PERTH  AMBOY,  NEW  JERSEY 


OFFICES 

9  EAST  FORTY-FIFTH  STREET,  NEW  YORK  CITY 
1600  WALNUT  STREET,  PHILADELPHIA,  PENNA. 


OFFICES  AND  WAREHOUSES 

1500  SOUTH  WESTERN  AVENUE,  CHICAGO,  ILL. 
1510  SANTA  FE  AVENUE,  LOS  ANGELES,  CAL. 


COPYRIGHT,  1928,  THE  C.  PARDEE  WORKS,  INC. 


THE  C.  PARDEE  WORKS,  PERTH  AMBOY,  N.  J. 


THE  COMMODORE 
NEW  YORK  CITY 


THE  PENNSYLVANIA 

NEW  YORK  CITY 


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THE  BELDEN 

CHICAGO,  ILL. 


CORAL  GABLES 
MIAMI,  FLA. 


THE  AMBASSADOR 
NEW  YORK  CITY 


The  careful  selection  of  the 
finest  clays  obtainable,  coupled 
with  an  experience  of  more 
than  a  quarter  century  of 
manufacturing,  has  produced 
a  bright  white  glazed  wall  tile 
having  among  its  other  supe¬ 
rior  qualities  the  outstanding 
virtue  of  being  of  a  perfect 
whiteness  which  challenges 
the  closest  scrutiny  in  any  en¬ 
deavor  to  distinguish  one  piece 
from  another  by  its  shade. 


F  ULL  sizetile,accuratesizing 
and  constant  vigilancetomain- 
tain  the  highest  standards  of 
grading  have  made  it  the  un¬ 
qualified  choice  of  the  discrim¬ 
inating  purchaser. 

The  surrounding  hotels,  con¬ 
taining  many  thousands  of 
baths,  are  but  a  few  of  those 
which  by  their  selection  and 
use  testify  to  the  quality  of 
PARDEE  TILE. 


THE  PROVIDENCE  BILTMORE 
PROVIDENCE,  R.  I. 


THE  ROOSEVELT 
NEW  YORK  CITY 


FLORIDIAN  HOTEL 


BAY  FRONT 
MIAMI  BEACH,  FLA. 


THE  BILTMORE 
NEW  YORK  CITY 


THE  AMBASSADOR 
ATLANTIC  CITY,  N.  J. 


WHITE  WALL  TILE 


WHITE  BRIGHT  GLAZED  WALL  TILE  AND  TRIM 

A  clearly  drawn  order  reduces  to  a  minimum  the  possibility  of  error  in  shipment,  and  obviates  the 
delay  necessary  to  obtain  an  interpretation  of  any  indefinite  terms. 

If  the  terms  of  this  catalogue  are  used  in  specifications  and  orders,  this  end  will  be  served. 


PLAIN  WALL  TILE 

SIZES:  6x6  6x3  6x2  4>^x4X  4^x2^ 


PATTERN 


WALL  TILE  TRIM 


SIZE 


A-55.  Base  (Stretcher) . 

Base  Concave  Angle,  Right . 

Base  Convex  Angles,  Right  and  Left . 

Base  Stops,  Right  and  Left . 

A-65.  Inglaze  (Stretcher) . 

Inglaze  Concave  Angle  (Reversible) . 

Inglaze  Concave  Angle  Square,  Left . 

Inglaze  Convex  Angles,  Right  and  Left  .... 

Outglaze  (Stretcher) . 

Outglaze  Concave  Angle  Square,  Left . 

Outglaze  Convex  Angle  (Reversible) . 

B-6.  Inglaze  (Stretcher) . 

Inglaze  Concave  Angle  (Reversible) . 

Inglaze  Convex  Angles,  Right  and  Left  .... 

Outglaze  (Stretcher) . 

Outglaze  Concave  Angles,  Right  and  Left  .  .  .  . 

Outglaze  Convex  Angle  (Reversible) . 

Outglaze  Butterfly  (Reversible) . 

B-16.  Trim  (Stretcher) . 

Trim  Concave  Angle  (Reversible) . 

Trim  Vertical  Angle  (Reversible) . 

B-55.  Base  (Stretcher) . 

Base  Concave  Angle,  Right . 

Base  Convex  Angle,  Left . 

Base  Stops,  Right  and  Left . 

C-5.  Cap  or  Trim  (Stretcher) . 

Cap  Concave  Angle,  Left,  Round  or  Square  .  . 

Cap  Convex  Angle,  Left . 

Trim  Vertical  Angle  (Reversible) . 

Cap  Stops,  Right  and  Left . 

F-5.  Cap  (Stretcher) . 

Cap  Concave  Angle,  Right . 

Cap  Concave  Angle  Square,  Left . 

Cap  Convex  Angles,  Right  and  Left . 

Cap  Vertical  Angle  (Reversible) . 

Cap  Concave  Angle  (Reversible),  Large  Radius 
Cap  Convex  Angle  (Reversible),  Large  Radius  . 

Base  (Stretcher) . 

Base  Concave  Angles,  Right  and  Left  .... 
Base  Concave  Angles,  Square,  Right  and  Left 

Base  Convex  Angles,  Right  and  Left . 

Base  Concave  Angle  (Reversible),  Large  Radius 
Base  Convex  Angle  (Reversible),  Large  Radius 


6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  6 

6 

X  3^ 

3^ 

X  sH 

3K 

X  SX 

6 

X  3>< 

3^ 

X  3H 

X  SH 

4X 

X  3)4 

6 

x4X 

4X 

X  a}4 

6 

X  4 

6 

X  4 

6 

X  4 

6 

X  4 

6 

X  3 

6 

X  3 

6 

X  3 

3 

X  3 

6 

X  3 

6 

X  2 

6 

X  2 

6 

X  2 

6 

X  2 

X  2K 

3 

X  2 

3 

X  2 

6 

X  2 

6 

X  2 

6 

X  2 

6 

X  2 

3 

X  2 

3 

X  2 

PAGE  FOUR 


WHITE  WALL  TILE 


WHITE  WALL  TILE  AND  WHITE  CERAMICS 

PATTERN  WALL  TILE  TRIM  (Continued) 

F-10.  Base  (Stretcher) . 

Base  Concave  Angle,  Left . 

Base  Concave  Angle  Square,  Left . 

Base  Convex  Angles,  Right  and  Left . 

Base  Reducer  (Reversible) . 

F-45.  Cap  (Stretcher) . 

Cap  Concave  Angle,  Left,  Round  or  Square . 

Cap  Convex  Angles,  Right  and  Left . 

Cap  Stops,  Right  and  Left . 

Cap  Vertical  Concave  Angle  (Reversible) . 

Cap  Vertical  Convex  Angle  (Reversible)  . 

G-60.  Cap  (Stretcher)  . 

Cap  Concave  Angle,  Left,  Round  or  Square . 

Cap  Convex  Angles,  Right  and  Left . 

Cap  Stops,  Right  and  Left . 

Cap  Vertical  Concave  Angle  (Reversible) . 

Cap  Vertical  Convex  Angle  (Reversible) . 

K-5.  Inglaze  (Stretcher) . 

Inglaze  Concave  Angle  (Reversible) . 

Inglaze  Convex  Angle  (Reversible) . 

Inglaze  Reducer  (Reversible) . 

Outglaze  (Stretcher) . 

Outglaze  Concave  Angle  (Reversible) . 

Outglaze  Convex  Angle  (Reversible) . 

Outglaze  Reducer  (Reversible) . 

B-22.  Inglaze  (Stretcher) . 

Inglaze  Concave  Angle  (Reversible) . 

Inglaze  Convex  Angles,  Right  and  Left . 

Outglaze  (Stretcher) . 

Outglaze  Concave  Angles,  Right  and  Left  . . 

Outglaze  Convex  Angle  (Reversible) . 

Outglaze  Butterfly  (Reversible) . 

1-6.  Inglaze  (Stretcher) . 

Outglaze  (Stretcher) . 

Outglaze  Butterfly . 

C-26.  Inglaze  (Stretcher) . 

Outglaze  (Stretcher) . 

HOSPITAL  TRIM,  2-INCH  RADIUS 

A-35.  Inglaze  (Stretcher) . 

Inglaze  Concave  Angle  (Reversible) . 

Inglaze  Convex  Angle  (Reversible) . 

Outglaze  (Stretcher) . 

Outglaze  Concave  Angle  (Reversible) . 

Outglaze  Convex  Angle  (Reversible) . 

C-35.  Inglaze  (Stretcher)  )  For  Angles . . 

Outglaze  (Stretcher)  J  See  A-35 . 

C-45.  Inglaze  (Stretcher)  )  For  Angles . 

Outglaze  (Stretcher)  )  see  A-35 . 

PLINTHS 

B-132.  Plain . 

B-133.  Beveled . 

B-134.  Plain . 

C-5.  Beveled . 


SIZE 
.6  X  2 
.6  X  2 

.6  X  2 

.6  X  2 

.6  X  2 

.6  X  2 
.6  X  2 
.6  X  2 
.6  X  2 
.2  X  2 
.2  X  2 

.  6  X  lyi 
.  6  X  iy2 
.  6  X  \y2 

.  6  X  1^2 

.  2yi  X  lyi 
.  2}^  X  lyi 

.6  X  1 

.6  X  1 

.  V/i  xl 
.6  X  1 

.6  X  1 

.  iK  X  1 
.6  X  1 

.6  X  1 

.  4X  X  3^ 
.  3K  X  3^ 

.  3K  X  3K 

.  4X  X  3^ 

.  X  VA 
.  3^  X  3K 
.  4X  X  3X 


.  .  3 

X  3A 

.  .  3 

X  zA 

.  .  3K 

X  zA 

.  .  6K 

X  3 

.  . 

X  3 

.  .  6 

X  5 

.  .  3 

X  5 

.  .  3 

X  3 

.  .  6 

X  5 

.  .  3 

X  3 

.  .  3 

X  5 

.  .  3 

X  5 

.  .  3 

X  5 

.  .  6 

X  3 

.  .  6 

X  3 

.  . 

X  5 

.  .  7 

X  zA 

.  .  7 

X 

.  .  7 

X  3>^ 

VITRIFIED  WHITE  CERAMICS 
1  inch  Hexagon  1x1  Squares— Broken  Joint 

1x1  Squares — Straight  Joint  lA  inch  Hexagon 


PAGE  FIVE 


WHITE  WALL  TILE 


B-134 


G-60 


FULL  SIZE  SECTIONS  OF  WHITE  WALL  TRIM 


PAGE  SIX 


WHITE  WALL  TILE 


FULL  SIZE  SECTIONS  OF  WHITE  WALL  TRIM 


PAGE  SEVEN 


WHITE  WALL  TILE 


A-65  INGLAZE 


A-65  IN.  CC.  L.  SQ. 


A-65  IN.  CX.  R. 


A-65  IN.  CX.  L. 


ONE-QUARTER  FULL  SIZE 


A-65  OUTGLAZE 


PAGE  EIGHT 


WHITE  WALL  TILE 


A~65  OUT.  CC.  L.  SQ. 


A-65  OUT. :  CX.  REV. 


a 


' '  ■’ -  |:U,  ■  ■  •  -  v;.-  •  r '  • '  ^  ^  r  X’ '  "  ,4'.  ^ 

^  ^  ..  ■- ,  jr-  /  -■  '  w ; .  _  -  ■  jg& 


M 


,-■■1 


B-5  IR  CG,  REV, 


B-6  IN.  CX,  R. 


Br6:'lN.  CX.  L. 


TP 


B-6  OUT.  CC.  R. 


B-6  OUT.  CC.  L. 


B-6  OUT.  GX.  REV. 


B-16  TRIM 


B-16  CC. 


B-16' REV. 
BUTTERFLY 


1 


B-55  CC.  R- 


B-SS  CX.  L, 


B-55  R.  S. 


ONE-QUARTER  FULL  SIZE 


,B-6  OUTGLAZE 


tel 

.  1',  r 

KxP- 


m- 

B-6  OUT.  REV.  '  4.n!t- 
BUTTERFLY 


B-55  BASE 


B-55  L,  S. 


PAGE  NINE 


WHITE  WALL  TILE 


C-5  CAP  OR  TRIM 


C-5  CAP  R.  S. 


F-5  CAP  CC.  R. 


F-5  CAP  CX.  L. 


) 

i 

!  [ 

■ _ J 

•  , 

I  1 

■ 

C-5  CAP  CC.  L. 


C-5  CAP  CX.  L. 


C-5  CAP  VERT, 


C-5  CAP  L.  S, 


’■■h  ■  -  ■ 


■■  ' 


'I 

■■  'i-v 


F-5  CAP  CC,  L.  SQ, 


F-5  CAP  CX.  R 


t; 


F-5  CAP  VERT.  REV. 


F-5  CAP  CC.  REV.  ; 
LARGE  RAD.  . 


F-5  CAP  CX.  REV. 
-  LARGE  RAD. 


A 

1 

*  ^  . 

j;:-.  '•••  . 

:  .  ,  .  . . .  . 

V  . . .  — — 

F-5  BASE  CC.  R.  SQ. 


F-5  BASE  CC.  L.  SQ. 


F-10  BASE  CX.  R. 


ONE-QUARTER  FULL  SIZE 


•A/r>- 


L-- 


PAGE  TEN 


F-5  BASE  CX.  L, 


F-IO  BASE  CC,  REV. 


F-45  CAP  CC.  L.  RD.  OR  SQ 


F-45  CAP  R.  S. 


t. 


G>60  CAP 


WHITE  WALL  TILE 


F-5  BASE  CC.  REV.  F-5  BASE  CX.  REV.  P-10  BASE 

LARGE  RAD.  LARGE  RAD. 


:  '  '  '  '.J 

F-IO  BASE  CC.  L.  SQ. 


, 

F-IO  RED.  REV. 


F-45  CAP  CX.  R. 


> 


,  4 


F-45  CAP 


F.45  CAP^L.  S.  F-45  CAP  F-45  CAP 

VERT.  CC.  REV.  VERT.  CX.  REV. 


Q-60  CAP  CC.  L.  RD.  OR  SQ.  G-60  CAP  CX.  R. 


G-60  CAP  R,  S,  G-60  CAP  L.  S. 


ONE-QUARTER  FULL  SIZE 


PAGE  ELEVEN 


WHITE  WALL  TILE 


G-60  CAP  G-60  CAP 

VERT.  CC.  REV.  VERT.  CX.  REV, 


gfS 


■■  ■  '  ■  ■■  ■  v:': 

-Wt:. 


K-5  IN.  CX.  REV. 


K-5  IN.  RED.  REV. 


K-5  OUTGLAZE 


K.5  OUT.  CC.  REV. 


K-3  OUT.  CX.  REV, 


K-5  OUT.  RED.  REV. 


mv..-.' 


r 

■i 

k: 

p  1 

i 

f 

1 

s 

j 

■  ■  ■ 

it 

'll 

1 

1 

-■  t-i  r 

1'^  • ' 

y  1 

B-22  INQLAZE 


B-22  IN.  CC.  REV. 


B-22  IN.  CX.  R. 


B-22  IN.  CX.  E. 


1' 

/■ 

Q 

1 

I 

1. . 

» 

{• 

1 

•  V 

B-22  OUTGLA2E 


B-22  OUT.  CC.  R. 


B-22  OUT.  CC.  L. 


B.22  OUT.  CX.  REV. 


i'T'.-.rv 


■■M 


.  . . 

1-6  INGLAZE 


*BBU 

1-6  OUTGLAZE 


B-22  OUT.  REV. 
BUTTERFLY 


1-6  OUT.  REV. 
BUTTERFLY 


ONE-QUARTER  FULL  SIZE 


PAGE  TWELVE 


WHITE  WALL  TILE 


i  .  > 

■ 


'  j 


C.26  INGLAZE 


0- 


C-26  OUTGLAZE 


A-35  OUT.  CX.  REV. 


1 


3 


C-35  OUTGLAZE 


ONE-QUARTER  FULL  SIZE 


PAGE  THIRTEEN 


WHITE  CERAMICS 


Thompson’s  Restaurant  in  Providence.  Here  the  Pardee  white  wall  tile 
is  divided  into  panels  by  strips  of  colored  tile  which  blend  with 
the  color  used  in  the  pattern  of  the  ceramic  floor. 


PAGE  FOURTEEN 


WHITE  WALL  TILE 


A  bath  in  the  Penn¬ 
sylvania  Hotel,  New 
York  City,  in  six  by 
three  white  wall  tile 
andone-inch  hexagon 
white  ceramics.  A 
conventional  treat¬ 
ment,  but  one  which, 
in  Pardee  tile,  is 
immaculately  white. 


The  restaurant 
kitchen  in  the 
Missouri  State  Life 
Building  in  St.  Louis. 
The  walls  and  ceiling 
are  finished  through 
with  Pardee  White 
Wall,  in  six-inch  units 
and  all  In  and  Out 
Corners  with  two- 
inch  radius  tile.  Here 
again  is  cleanliness, 
combined  with  the 
utmost  conservation 
of  light. 


PAGE  FIFTEEN 


FLINT  TILE  AND  CERAMICS 


Pardee  Flint  Tile  and  Ceramics  are  manufactured  in  four  colors :  Sand  Gray, 
Holland  Brown,  Red  and  Brindle  Gray. 

Running  in  slight  and  evenly  distributed  shade  variations  they  compose  colorful 
floors  of  the  softest  and  most  pleasing  tones  and  offer  a  rich  and  harmonious  back¬ 
ground  for  fine  rugs. 

Made  of  natural  clays,  their  color  and  texture  is  uniform  throughout,  and  their 
complete  vitrification  makes  them  not  only  proof  against  wear,  but  completely  non¬ 
absorbent,  and  so  stainproof. 

The  Sand  Gray  in  particular  offers  a  slightly  roughened  surface  which  will  not 
wear  smooth,  and  so,  if  kept  clean,  is  non-slipping  even  when  wet,  a  condition  under 
which  so  many  surfaces  are  unsafe. 

Structurally  they  are  of  great  strength,  although,  the  small  ceramic  sizes  in  par¬ 
ticular,  of  little  weight,  averaging  about  three  pounds  to  the  foot,  and  so  permitting 
great  economies  in  the  dead  load  in  large  buildings. 

Beyond  all  this,  they  are  so  moderately  priced  that  where  otherwise  cheaper  and 
less  attractive  materials  would  be  considered,  they  make  possible  the  beauty  and 
unmeasured  permanence  of  tile. 


TILE 

Color  Plastic  Size 

Brindle  Gray . 6x6,  6x3,  3x3 

Red . 6x6,  6x3,  6x2,  4x4,  4x2,  3x3,  2x2 

Hand  Made 

Brindle  Gray . 6x6,  4x4,  4x2,  3x3 

Red . 6x6,  4x4,  4x2,  3x3 

Holland  Brown . 6x6,  4x4,  4x2,  3x3 

Dust  Pressed 

Holland  Brown . 4x4,  4x2,  2x2 

Sand  Gray . 4x4,  4x2,  2x2 

Sand  Gray  ]  Ceramics 

Red  / .  1-inch  Hexagon,  1x1,  2x1 

Holland  Brown  ) 

TRIM 

Pattern  Color  Size 

Plastic 

B-5  Base . Brindle  Gray  and  Red . 6x6 


Dust  Pressed 

B-6  Base . Sand  Gray  and  Holland  Brown 

F-4  Cap . Sand  Gray  and  Holland  Brown 

F-4  Base . Sand  Gray  and  Holland  Brown 

F-14  Bead . Sand  Gray  and  Holland  Brown 

F-14  Cove . Sand  Gray  and  Holland  Brown 

Ceramic  Bead . Sand  Gray  and  Holland  Brown 

Ceramic  Cove . Sand  Gray  and  Holland  Brown 


Concave  and  convex  angles  for  each  of  above  patterns. 


.  6x3 
.  4x2 
.  4x2 
.  4x2 
.  4x2 
2xlK 

2xlK 


PAGE  SIXTEEN 


FLINT  TILE  AND  CERAMICS 


CERAMIC 

BEAD 


BEAD 

CX. 

REV. 


BEAD 

CC. 

REV. 


F-14  BEAD 


F-14  BEAD 
CX.  REV. 


F-14  BEAD 
CC.  REV. 


CERAMIC  COVE 

COVE  CC. 

REV. 


COVE 

CX. 

REV. 


F-14  COVE 


F-14  COVE 
CC.  REV. 


F-14  COVE 
CX  REV. 


F-14  COVE 
CX.  REV.  SQ. 


CERAMIC 

COVE 

AND 

BEAD 


SECTIONS  FULL  SIZE— ELEVATIONS  ONE-QUARTER  FULL  SIZE 


PAGE  SEVENTEEN 


FLINT  TILE  AND  CERAMICS 


FIELD  PATTERNS 


‘  - 

eii 

>  :  ■.= 

r  • 

F 

7'Ti 

[  ^ 

. 

[ 

1 

1  _ 

_ 

‘  L  ' 

p"'- 

■v.  {■* 

h,.-  -- 

jSsifV-fi 

;3'| 

fc'l. 

. . . 

f’ 

r*"’^ 

iLiM 

.  ‘  ’irfi  if’ 

0 

W 

H 

S 

FI 

W' 

M 

g 

PI 

g 

s 

M 

M 

Si 

g 

s 

■'. 

B 

ftl 

@ 

8 

M 

y 

M 

.c'- 

1 

*  »• 

-'■  i 

g 

S 

iJ 

t 

b 

; . 

ffl 

PI 

@ 

3 

*A 

iLJ 

1 

hT.< 

Iv/j 

S 

L‘.-!L 

g 

H 

ft 

jy 

li 

ftr? 

m 

.1 

> ; 

'V, 

Li 

j 

p! 

'  ». 

'fyi 

g 

[8 

B 

H 

iiL 

ft 

ft 

ffl 

ft 

lLI 

"y 

IS 

■*w 

s 

ft 

H 

Ljjjj 

m 

g 

B 

Si 

m 

g 

1 

8 

H 

p 

'•i' 

m 

fi 

vv1 

1 

553 

m 

B 

8 

m 

s 

S 

H 

fe 

“t 

IB 

H 

g 

>  / 

M 

ft 

M 

» 

<3 

lli 

H 

S 

Li 

T 

g 

TWW 

' 

te' 

s 

B 

s 

R 

S 

'Mi 

i 

fe 

ri’^1 

K 

H 

§ 

t 

M: 

g 

ft 

ft 

i 

ji 

Ej 

5 

■■'RC 

Ipj 

1 

m 

•  ?<\ 

i 

0 

i^fe 

§ 

>i' 

m 

uiiJ 

§ 

■j^ 

101  no 


mi 

T  -  T1  L  i 

r 

w 

IT 

1 

Fim 

M 

F  - rn  ■ 

TFF. 

. T 

;-; 

■  i'*-'  ‘ 

(I 

iJ 

iL. 

F„„ 

'-' 

%• 

1“^ 

! 

L 

.  ’1 

■ .  ’( 

■„  ■  .  .■■  ; 

i: 

•  i  .  :vf:  .'.  -  .:T- 

FZ^  TIT 

L. 

}  ’  •  ' 

1.  ■  1 

._L 

.  -T  T 

'Y  ' 

T 

•' ; 

TI 

i  •  I 

!  • 

^-.  ■ 

TT:n 

,  ,  -p  . 

L 

:  TI 

IF 

FUEiZ 

'  fes 

111 


113 


114 


115 


The  numbers  indicate  pattern,  not  color.  Each  pattern  may  be 
had  in  any  of  the  colors  illustrated,  or  any  combination  of  them. 


PAGE  EIGHTEEN 


FLINT  TILE  AND  CERAMICS 


BORDER  PATTERNS 


100 


107 


The  numbers  indicate  pattern,  not  color.  Each  pattern  may  be 
had  in  any  of  the  colors  illustrated,  or  in  any  combination  of  them. 


PAGE  NINETEEN 


FLINT  TILE  AND  CERAMICS 


An  apartment  house 
lobby  in  New  York  City. 
The  pavement  in 
Grueby  sand  gray  is 
enlivened  with  black 
inserts  which  bring  out 
the  delicate  shade  vari¬ 
ations  of  the  body,  and 
effect  a  floor  of  simple 
yet  most  tasteful  char¬ 
acter. 


The  basement  of  the 
American  Circle  Build¬ 
ing,  New  York  City,  is 
one  of  the  main  exits 
from  the  Columbus 
Circle  Station  of  the 
subway,  and  although 
installed  in  1914,  and 
subject  to  the  heaviest 
traffic,  the  Grueby  sand 
gray  floor  shows  not  the 
slightest  sign  of  wear. 


i 


PAGE  TWENTY 


FLINT  TILE  AND  CERAMICS 


An  automobile  show 
room  in  Philadelphia  in 
which  the  Grueby  sand 
gray  and  Holland  brown 
one-inch  hexagons  are 
used  in  alternating 
squares  of  eighteen 
inches.  This  treatment 
combines  the  lower  cost 
of  the  small  ceramic  tile 
with  the  greater  rest¬ 
fulness  of  a  large  unit 
for  the  checker  board 
pattern. 


The  non-slipping  fea¬ 
ture  of  Grueby  sand 
gray  makes  it  particu¬ 
larly  suitable  for  the 
runways  about  pools, 
minimizing,  as  it  does, 
the  chance  of  accident. 
It  is  so  used  in  the  pool 
room  of  the  Heckscher 
Foundation  for  Children, 
New  York  City. 


PAGE  TWENTY-ONE 


GRUEBY-FAIENCE 


BUFF  DUST  BODY 


COLOR  309 

PATTERN  SIZE 

Plain  Tile . 4x4 

A-65.  Inglaze  or  Outglaze . 6x6 

B-22.  Inglaze  or  Outglaze . 4x4 

F-5.  Inglaze  or  Outglaze  . . 6x2 

F-45.  Cap . 6x2 

K-5.  Inglaze  or  Outglaze . 6x1 


CONCAVE  AND  CONVEX  ANGLES  FOR  ALL  PATTERNS 


RED  PLASTIC  BODY 
ALL  COLORS 

PATTERN  SIZE 

Plain  Tile  6x6  6x3  6x2  4x4 

4x2  3x3  3"  Hex.  2x2 

A-65.  Inglaze  or  Outglaze . 6x6 

B-6.  Base . 6x3 

B-22.  Inglaze  or  Outglaze . 4x4 

F-S.  Inglaze  or  Outglaze . 6x2 


CONCAVE  AND  CONVEX  ANGLES  FOR  ALL  PATTERNS 


FULL  SIZE  SECTIONS  OF  FAIENCE  TRIM 


PAGE  TWENTY-TWO 


GRUEBY-FAIENCE 


224  217  207  212  309  51 

INDIGO  AUTUMN  HYDRANGEA  OLIVE  GREEN  AMBER  HAUTEVILLE  MIRROR  BLACK 


216  227  214  219  218  211 

OLD  IVORY  SIENNA  AZURE  ECRU  WATERMELON  GREEN  LAPIS  LAZULI 


STANDARD  COLORS  AND  SHADES  OF  GRUEBY-FAIENCE 

At  the  Paris  Exposition  in  1900,  Grueby-Faience  was  awarded  two  gold  medals,  the 
highest  honor  possible  for  a  first  exhibition. 

In  making  their  award,  the  judges  said,  “Grueby  colors  are  noted,  not  only  for  their 
depth,  but  for  their  delicate  texture,  which  gives  a  restful,  lasting  interest  and  pleasure. 
The  greens  are  like  the  skin  of  a  watermelon,  the  yellows  like  the  skin  of  a  pumpkin, 
and  the  more  delicate  colors  not  unlike  the  petals  of  a  rose.” 

In  choosing  these  similes  the  judges  unconsciously  emphasized  the  wax-like  appear¬ 
ance  of  the  Grueby  glazes,  a  feature  which  distinguishes  them  from  all  other  colored  tile. 

Burned  at  high  temperatures,  they  are  of  practically  unlimited  durability,  and  years 
of  use  only  mellow  their  soft  beauty. 

Many  shades,  each  in  slight  variations,  but  each  distinct  in  itself,  give  wide  range 
for  the  harmonious  blending  of  the  various  colors. 

With  the  exception  of  the  Hauteville,  which  has  a  buff,  dust-pressed,  straight-edged 
body,  all  the  Grueby  colors  are  applied  to  a  red  plastic  bisque,  not  completely  vitrified, 
but  carried  only  to  the  point  where  durability  is  reached,  but  viscosity  retained  sufficient 
for  firmness  of  grip  and  ease  of  application. 

The  slight  irregularity  of  the  plastic  body  gives  the  appearance  of  a  hand-made  tile 
and  the  pleasing  effect  of  age. 

The  first  Faience  to  be  manufactured  in  America,  the  Grueby-Faience  owes  its 
character  to  a  life-time  of  research  and  experimentation. 


PAGE  TWENTY-THREE 


GRUEBY-FAIENCE 


ST.  JOHN 


Here  are  illustrated  the  four 
Apostle  tile,  which  are  manufac¬ 
tured  in  the  ei  ght  -  inch  size  only; 
and  below  is  shown  one  of  the 
Grueby-Faience  panels  in  the  Cathe¬ 
dral  of  St.  John  the  Divine,  New 
York  City. 

Grueby-Faience  has  been  found 
particularly  appropriate  for  church 
pavements,  where,  in  addition  to  its 
beauty  and  permanence,  it  may  at¬ 
tach,  also,  a  definite  symbolic  sig¬ 
nificance. 

Naves  and  transepts  are  preferably 
in  reds  and  browns,  the  more  earthly 
colors,  giving  way  to  the  greens  and 
blues  and  gold  as  the  chancel  and 
altar  are  approached. 

The  wide  range  of  color  and  de¬ 
sign  provided  in  Grueby-Faience 
makes  it  possible  to  carry  out  con¬ 
ceptions  of  the  finest  and  most  taste¬ 
ful  character. 


ST.  MARK 


ST.  LUKE 


PAGE  TWENTY-FOUR 


GRUEBY-FAIENCE 


653 


657 


655 


656 


668 


654 


664 


665 


Above  are  illustrated  a  number  of  the  Grueby-Faience  decorative  inserts  in  both  the  geometric  and  natural  designs.  If  only 
one  color  of  glaze  is  desired,  it  is  applied  to  the  depressed  part  of  the  tile,  the  raised  portions  showing  the  unglazed  body,  either 
brindle  grey  or  red  plastic.  The  first  digit  of  each  pattern  number  indicates  the  size  in  inches.  These  are  manufactured  in  any 
combinations  of  the  Grueby  colors,  but  only  in  the  sizes  illustrated. 


PAGE  TWENTY-FIVE 


GRUEBY-FAIENCE 


Grueby-Faience  Grill  Tiles  for  venti¬ 
lation  and  for  the  enclosure  of  radiators 
are  made  in  the  two  patterns  here 
illustrated.  The  larger  of  these 
measures  nine  inches  square,  the 
smaller,  six  inches  square.  They  are 
available  in  any  of  the  colors  in  which 
the  plain  tiles  are  made. 


This  Grueby-Faience  floor  in  two 
shades  of  gray  is  set  in  a  random  pattern 
of  various  shapes  and  sizes,  showing  how 
it  may  be  decorative  in  itself. 

But  it  is  also  a  splendid  background  for 
rugs  and  furnishings,  its  rich  colors  having 
a  quiet  dignity  that  adds  to,  rather  than 
detracts  from,  the  effect  of  other  decora¬ 
tions. 

The  wide  range  of  colors  in  the  Grueby- 
Faience  makes  it  possible  to  carry  out 
period  rooms  in  perfect  character,  and  the 
hand-made  appearance  of  the  tiles  them¬ 
selves  enhance  the  effect  by  the  illusion 
of  age  which  they  create. 


PAGE  TWENTY-SIX 


GRUEBY-FAIENCE 


This  kitchen,  in  the 
exhibition  rooms  of 
the  Crane  Company 
in  Chicago,  is  in  the 
Grueby-Hauteville, 
trimmed  with  the 
Chinese  mirror  black. 

The  Grueby-Haute¬ 
ville,  like  the  marble 
from  which  it  takes  its 
name,  ischaracterized 
by  the  grained  effect 
and  by  the  delicate 
shade  variations 
which  give  it  a  life 
and  interest  not  found 
in  any  similar  tile. 
Ranging  from  light 
browns  to  buff,  its 
soft  tones  hold  the 
warmth  and  cheerful¬ 
ness  of  sunshine. 


This  Grueby- 
Faience  niche  in  the 
entrance  lobby  of  the 
Haverford  Township 
School  is  a  pleasing 
touch  of  color  in  the 
more  neutral  tones 
of  the  wainscot  in 
Grueby-Hauteville. 

The  Hauteville  has 
been  found  particu¬ 
larly  appropriate  for 
schools,  for  its  high 
glaze  not  only  con¬ 
serves  a  maximum  of 
light  but  will  not 
receive  a  pencil  or 
other  mark,  and  so 
gives  always  the  ap¬ 
pearance  as  well  as 
the  actuality  of  im¬ 
maculate  cleanliness. 


PAGE  TWENTY-SEVEN 


GRUEBY-FAIENCE 


This  Grueby  -  Faience 
bath,  in  the  exhibition 
rooms  of  the  Crane  Com¬ 
pany  in  Chicago,  is  a  fine 
expression  of  the  present 
day  trend  toward  color. 
Retaining  the  perfect 
sanitation  that  has  hith¬ 
erto  been  the  chief  con¬ 
sideration,  there  is  added 
the  warmth  of  a  delicate 
shade  of  lemon  yellow, 
with  base  and  trim  in 
Chinese  mirror  black. 

The  additional  expense 
of  a  Grueby-Faience  in¬ 
stallation  is  so  relatively 
small  that  the  bath  should 
receive  the  same  con¬ 
sideration  as  the  other 
rooms  of  a  fine  home  and 
be  made  equally  expres¬ 
sive  of  individuality. 


Lobby  of  the  Alden 
Park  Manor,  Phila¬ 
delphia.  The  floor 
and  stairs  are  in  varie¬ 
gated  shades  of 
brown,  set  at  random; 
the  base  in  Chinese 
mirror  black. 


PAGETWENTY-EIGHT 


SATIN  FINISH  TILE 


! 

+ 

j 


I 

WHITE 


ORCHID 


PINK 


GRAY 


CREAM 


GREEN 


BLUE 


BLACK 


SATIN  FINISH  TILE 


The  C.  Pardee  Works,  in  resuming  the  production  of  colored  wall  tile  on  a  white 
bisque,  has  chosen  for  its  palette  the  six  satin  finish  colors,  the  white  satin  finish,  and 
the  bright  black  enamel,  which  are  illustrated  above. 

This  selection  has  been  made  in  the  belief  that  the  range  of  these  colors  is  sufficient 
for  the  most  artistic  treatments,  and  that  being  able  to  obtain  them  promptly  from 
stock  and  to  match  one  lot  exactly  with  another  outweighs  any  advantage  of  a  great 
diversity  of  shades  that  cannot  be  had  for  prompt  delivery  or  depended  upon  to  match 
the  sample  from  which  the  selection  was  made. 

The  trim  tiles  in  these  colors  are  made  in  any  of  the  patterns  illustrated  on  pages 
eight  to  thirteen  of  this  catalogue,  the  more  customary  ones  being  carried  in  stock  and 
the  others  made  up  promptly  to  order.  Plain  and  decorated  strips  also  can  be  had  in 
any  of  these  colors. 

On  the  following  page  are  shown  the  Satin  Finish  colors  on  a  vitrified  bisque  for 
use  in  floors.  The  texture  and  shades  of  these  glazes  are  the  same  as  those  of  the 
wall  tiles,  so  that  the  colors  of  one  may  be  carried  into  the  other. 

Bathroom  fixtures  of  the  same  bisque  as  the  tile  and  with  the  identical  glazes  are 
shown  on  page  thirty-one.  These  patterns  are  carried  in  stock,  but  other  patterns 
can  be  furnished  where  required. 

Pardee  Satin  Finish  Tile  combines  the  delicacy  of  the  pastel  shades  with  the 
warmth  of  the  deeper  Faience  colors. 


PAGE  TWENTY-NINE 


SATINVITS 


PATTERN  A 


PATTERN  C 


E:v,.T  .1" 

- 

1 

m:V'& 

'V-- 

' 

* 

PATTERN  D 


PATTERN  E 


1 

.. 

' : '' 

r  . 

r 

PATTERN  F 


PATTERN  G 


PATTERN  H 


The  colors  of  Pardee  Satinvits  go  together  so  harmoniously  that  they  are  particularly  attractive  in 
designs  such  as  the  suggestions  given  above,  or  any  other  combination  of  colors. 

The  units  are  made  in  inch  squares  to  give  a  slightly  larger  joint  in  the  floor  than  in  the  wall. 
The  half  and  quarter  tile  measure  4}^  x  2  and  2x2,  and  so  permit  a  uniform  size  of  joint  when  used 
together  in  pattern. 


PAGE  THIRTY 


SATIN  FINISH  FIXTURES 


RD-24  4>^  X  ^]4 
DOOR  STOP 


RD-18  X  4K 
ROBE  HOOK 


RD-14  X  4X 
TUMBLER  HOLDER 


RD-27  4X  X  4X 
SOAP  HOLDER 


RD-19  4X  X  4^: 
SHELF  BRACKET 


RD-17  4X  X  4X 
TOOTH  BRUSH  HOLDER 


SOAP  HOLDER 


RD-29  4X  X  4X 
POST  FOR  SQUARE  BAR 


RD-16  4X  X  4K 
POST  FOR  ROUND  BAR 


RD-30  4><  X  4X 
LIGHT  FIXTURE 


1 


RD-8  6x6 

TUMBLER  HOLDER 


UL 

□ 

1  i 

□  C 

"1  n  1  II  1 

Ll  [ 

□  c 

D  Q  Q  Q 

□  l 

11  1  i  !  FI 

mmaJ  UammmmtJ  Wiilpi  1  iii» 

RD-57  6  x6 
RADIATOR  GRILL 


RD-25  6  x6 
SPONGE  HOLDER 


A 

r  ^ 

RD-21  6x6 

SOAP  AND  GRAB 


RD-11  6x6 

ROLL  PAPER  HOLDER 


RD-22  6  x6 

SHEET  PAPER  HOLDER 


PAGE  THIRTY-ONE 


ROYAL-DELFT  FAIENCE 


HO— CAP  O— CAP  CC.  R.  P— CAP  CC.  L.  JO— CAP  CX.  REV. 


K— CAP  VERT.  REV. 


REH 


REK 


PA 


^  ^  A 

PH— BEAD  CC.  RD.  PF— BEAD  CC.  SQ.  PEO— BEAD  CX. 


^  . 

PEI— COVE  CC. 


PJ— COVE  CX. 


RED. 


TRIM  FOR  ROYAL-DELFT  FAIENCE— ONE-FOURTH  ACTUAL  SIZE 


PAGE  THIRTY-TWO 


ROYAL-DELFT  FAIENCE 


20594 

EBONY 


2821 

CRYSTAL  ORANGE 


5746 

MOUSE  GRAY 


2811 

CRYSTAL  GREEN 


4179 

CLOUD  GRAY 


3755 

SEA  GREEN 


2699 

LILAC 


9738 

BROWN  AGATE 


20239 

LINCOLN  GREEN 


■■  *  4  ■■  " 

fc-  '  *,  r  ,  "W 

• ' 

'jm  -. 

1,.- ,  ^ 

20422 

OLD  OAK 


3138 

FAWN 


10000 

IRIDESCENT 


5000 

LUXOR  RED 


s>- 

2237 

CRYSTAL  WHITE 


2653 

CRYSTAL  BLUE 


GOLD 


STANDARD  COLORS  OF  ROYAL -DELFT  FAIENCE 


PAGE  THIRTY-THREE 


ROYAL-DELFT  FAIENCE 


SORTING 

’  The  question  of  sorting  the  Royal-Delft  Faience  is  one  of  pre-eminent  importance 
on  account  of  the  variegation,  both  in  shade  and  texture,  which  characterizes  many  of 
these  tiles.  Some  variegation  is  present  in  the  mottled  or  clouded  glazes,  but  it  is  par¬ 
ticularly  prominent  in  the  Old  Oak  and  the  Crystallized  glazes,  and  only  by  the  utili¬ 
zation  of  this  characteristic  is  the  beauty  of  these  tiles  fully  exploited. 

This  may  be  done  in  three  ways : 

First.  The  tiles  may  be  set  promiscuously,  which  without  doubt  gives  the  most 
vivid  effect,  and  is  most  appropriate  for  spaces  of  large  dimensions. 

Second.  The  tiles  may  be  sorted  and  set  so  as  to  form  a  graduation  of  shades 
from  dark  at  the  bottom  to  light  at  the  top.  This  form  of  application  is  to  be  recom¬ 
mended  where  the  tiling  is  divided  into  small  panels,  and  for  pilasters. 

Third.  The  tiles  may  be  sorted  and  set  according  to  color  in  panels  or  individual 
spaces  which,  considered  by  themselves,  are  of  one  and  the  same  shade  from  top  to 
bottom. 

In  some  of  the  glazes  there  is  a  certain  linear  color  effect,  particularly  in  the  Old 
Oak,  and  here  it  is  best  to  give  the  texture  a  vertical  position. 


SETTING 

Royal-Delft  Faience,  in  the  ease  and  rapidity  with  which  it  can  be  set,  is  compar¬ 
able  only  to  the  familiar  domestic  white  glazed  wall  tile.  Free  from  warpage  and  of  a 
single  exact  size  it  is  of  as  uniform  a  quality  as  any  fired  clay  product  can  be. 

It  is  manufactured  chiefly  in  the  four  by  four  size,  as  this  lends  itself  best  to  the 
creation  of  patterns,  but  it  also  may  be  had  in  six  by  nine,  four  by  two,  four  by  one, 
and  two  by  two  units. 

The  body  of  the  tile  is  not  vitrified  but  porous  and  so  very  easily  cut  to  the  odd 
shapes  and  sizes  that  may  be  necessary  in  fitting,  being  particularly  workable  when 
thoroughly  soaked. 

Before  setting,  the  tiles  should  be  immersed  in  clean  water  until  absorption  is 
complete  then  removed  from  the  water  and  let  stand,  overnight  if  convenient,  so  that 
they  cease  to  drip  and  will  hold  best. 

The  single  caution  of  great  importance  applies  particularly  to  the  crystallized 
glazes.  With  these  the  surface  must  be  washed  clean  as  each  thirty  or  forty  feet  are 
set,  as  if  the  mortar  is  allowed  to  harden  it  will  adhere  and  leave  visible  traces  which 
no  washing  or  brushing  will  efface  without  impairing  the  glaze. 

These  tiles  are  very  attractive  when  set  with  joints  of  about  an  eighth  of  an  inch 
but  their  nicety  of  size  and  line  permits  setting  so  compactly  that  the  joints  scarcely 
show,  where  this  is  preferred. 

It  is  best  not  to  fill  up  the  joints  but  to  leave  them  as  open  as  possible  until  ready 
to  grout.  The  minimum  of  sand  should  be  used  in  the  grouting  mixture,  and  before 
rubbing  this  into  the  joints  the  whole  surface  of  the  tiling  should  be  wet  and  kept  so  by 
alternating  the  operation  as  every  twenty  or  thirty  square  feet  are  completed. 

The  grouting  should  now  be  let  dry  an  hour  or  so  and  then  the  surface  of  the 
tiling  should  be  rubbed  clean  with  a  towel,  dry  or  moist,  as  the  case  may  require,  and 
the  colors  will  come  out  bright  and  shining. 


PAGE  THIRTY-FOUR 


ROYAL-DELFT  FAIENCE 


aSw!" 

imim 

--f.Z-l 

.•4: 

j 

■ 

■  z-i. 

■J  ■'  * 

A- 

1 

fy^'t 

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"V 

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The  outstanding  feature  of  the  Royal-Delft 
Faience  is  that  these  tiles  are  totally  unlike  any 
others,  that  they  are  unique  and  original,  having 
been  discovered  and  developed  only  by  the  factory 
which  now  manufactures  them. 

The  gray-green  iridescent  is  a  particularly  inter¬ 
esting  one,  and  the  crystallized  glazes — the  blue, 
orange,  green  and  white — with  a  light  and  dark 
shade  on  each  tile  are  unusually  colorful. 

The  surrounding  illustrations  of  wainscots  por¬ 
tray  as  accurately  as  possible,  other  than  by  view¬ 
ing  the  tiles  themselves,  the  appearance  of  the 
various  colors  en  masse. 

The  attempt  has  been  made  to  place  together 
those  that  make  the  more  pleasing  combinations 
and  to  suggest  designs  for  their  use. 


P 

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PAGE  THIRTY-FIVE 


ROYAL-DELFT  FAIENCE 


>v 


C-l 


C-5 


C-6 


C-7 


C-2 


C-3 


C-4 


C-9 


C-10 


C-11 


C-12 


C-13 


C-14 


C-8 


C-15 


C-16 


C-17 


C-18 


C-19 


C-20 


C-21 


C-22 


C-23 


C-24 


C-25 


C-26 


C-27 


C-28 


C-2  9 


C-30 


C-31 


C-32 


C-33 


C-34 


C-35 


C-37 


C-38 


C-39 


C-40 


C-41 


C-42 


C-36 


C-43 


C-44 


C-49 


C-45 


C-46 


C-47 


C-48 


C-50 


C-51 


C-52 


C-53 


C-54 


C-55 


C-56 


CLOISONNE  DECORATIVE  TILE 


APPROXIMATELY  ONE-FIFTH  ACTUAL  SIZE 


PAGE  THIRTY-SIX 


ROYAL-DELFT  FAIENCE 


C-57 


C-58 


C-59 


C-60 


C-80 


C-81 


C-82 


C-83 


C-84 


C-72 


C-71 


C-73 


C-74  C  75  C-76 


C-85 


C-86 


C-87 


C-88 


C-89 


C-77  C-78 


C-79 


C-122 


C-123 


C-126 


C-127 


C-124 


C-128 


C-125 


C-129 


C-130 


C-131 


C-132 


C-133 


CLOISONNE  DECORATIVE  TILE 


APPROXIMATELY  ONE-FIFTH  ACTUAL  SIZE 


PAGE  THIRTY-SEVEN 


ROYAL-DELFT  FAIENCE 


28  30 

CLOISONNE  DECORATIVE  PANELS 

APPROXIMATELY  ONE-FIFTH  ACTUAL  SIZE 


PAGE  THIRTY-EIGHT 


MOORISH  TILE 


C-lOOl 


C-1003 


C-1002 


C-1001 


Many  of  the  Royal-Delft  glazes  lend 
themselves,  particularly  in  shade 
and  texture,  to  these  attractive 
Moorish  designs.  It  will  be  noted 
that  each  of  the  patterns  illustrated, 
except  C-1003,  forms  in  its  repeti¬ 
tion  two  quite  distinct  designs, 
although  the  color  treatment  of  the 
individual  tiles  may  be  identical. 
Patterns  C- 1004,  C- 1005  and  C-1006 
measure  5 yi  inches  square,  the  other 
patterns  measure  6  inches  square. 


C-1002 


C-1004 


C-1005 


C-1006 


C-1004 


C-1005 


C-1006 


PAGE  THIRTY-NINE 


ROYAL-DELFT  FAIENCE 


In  the  surrounding  photographs  are  shown  the  four¬ 
teen  Stations  of  the  Cross.  Of  the  beauty  and  consum¬ 
mate  artistry  with  which  these  panels  are  executed  only 
an  imperfect  idea  can  be  given  by  the  illustration  in 
color  on  the  page  following,  for  they  represent  without 
doubt  the  very  height  of  the  ceramic  art. 

Painted  with  great  delicacy  of  tone  and  accuracy  of 
detail,  they  possess  all  the  qualities  of  an  oil  painting 
and  yet  retain  permanently  their  fine,  deep  colors. 
These  panels  are  executed  only  upon  definite  order  and 
may  be  obtained  only  during  the  life  of  the  artist,  but 
an  original  may  be  seen  in  the  New  York  Exhibition 
Rooms.  Ecclesiastic  in  subject,  they  are  particularly 
suited  for  religious  memorials. 


JESUS  IS  TAKEN  DOWN  FROM  THE  CROSS 


THE  STATIONS  OF  THE  CROSS 


PAGE  FORTY 


ROYAL-DELFT  FAIENCE 


ONE-THIRD  ACTUAL  SIZE 


PAGE  FORTY-ONE 


ROYAL-DELFT  FAIENCE 


BEAR 
4>^" X  Ayi" 


TIGER 
X  4>^" 


Here  are  illustrated  in  full  face  and 
profile  a  number  of  masks  which  are 
perforated  for  use  particularly  as  foun¬ 
tain  heads. 

Made  of  highly  fired  plastic  clay  and 
glazed,  they  are  equally  as  suitable  for 
exterior  as  for  interior  installations. 

These  may  be  had  in  any  of  the  stand¬ 
ard  colors  of  Royal-Delft  Faience. 


DOLPHIN 
^Vfy  X  4>^" 


FAUN  A 
6K"  X  6K" 


DOLPHIN 
8X"  X  8X" 


FISH 
4H"  X  ^yi" 


FAUN  B 
X  6K" 


PAGE  FORTY-TWO 


ROYAL-DELFT  FAIENCE 


I.  Bath  in  a  private  resi¬ 
dence  in  Los  Angeles,  Cali¬ 
fornia.  The  wainscot  is  in  the 
Crystal  Orange  trimmed  with 
the  Crystal  Green. 


II.  Bath  in  the  Kenilworth  Apartments  in  Phila¬ 
delphia,  Pa.  The  wainscot  is  in  the  Faun  enlivened 
with  strips  of  Sea  Green.  The  floor  is  of  unglazed 
ceramics  in  a  basket  pattern  of  green  with  buff  dots. 

III.  Corridor  in  an  office  building  in  Tampa,  Florida. 
The  wainscot  is  in  the  Faun,  with  cap  and  base  of 
the  Old  Oak. 


PAGE  FORTY-THREE 


ROYAL-DELFT  FAIENCE 


II.  Wash  room  in  an  office  building  in  Los  Angeles, 
California.  The  floor  is  of  Grueby  Sand  Gray  ceramics, 
the  wainscot  of  Faun  trimmed  with  Ebony. 


IV.  Bath  in  a  private  residence 
in  North  Caldwell,  New  Jersey. 
The  floor  is  of  Grueby-Faience  in 
Sea  Green,  the  wainscot  of  the 
Royal-Delft  Surf  Green. 


I.  Bath  in  a  private  residence  in  North  Caldwell, 
New  Jersey.  The  floor  is  of  Grueby-Faience  in  Lapis 
Lazuli.  The  wainscot  is  in  the  Royal-Delft  Faience, 
the  Crystal  Orange  trimmed  with  Crystal  Blue. 


III.  Bath  in  a  private  residence  in  Santa  Monica, 
California.  Both  floor  and  wainscot  are  in  the  Crystal 
White  enlivened  with  strips  of  color  and  Cloisonne 
decorative  tiles. 


PAGE  FORTY-FOUR 


ROYAL-DELFT  FAIENCE 


III.  An  interesting  treatment  for 
kitchens.  The  sink  is  lined  with 
glazed  ceramics.  The  wainscot  is 
in  the  Royal-Delft  Faun. 


I.  Bath  in  private  residence  in  Scarsdale,  N.  Y.  The 
wainscot  is  in  the  Royal-Delft  Crystal  Orange. 


IV.  A  restaurant 
in  Tampa,  Fla.  The 
wainscot  is  in  Royal- 
Delft  Faun  trimmed 
with  Ebony. 


II.  Entrance  lobby  and  stairway 
of  private  office  in  New  York  City. 
The  wainscot  is  in  Royal-Delft  Crys¬ 
tal  Green,  the  stairs  in  Grueby- 
Faience  Watermelon  Green  and 
Chinese  Mirror  Black. 


PAGE  FORTY-FIVE 


ROYAL-DELFT  FAIENCE 


I.  Hearth  and  Mantel  in  the  Hague  exhi¬ 
bition  rooms,  showing  at  the  right  a  panel  of 
the  Moorish  tiles. 

II.  Front  facade  of  the  Ecole  des  Beaux  Arts, 
Tourcoing,  France;  an  exterior  in  the  Heraldic 
colors  on  a  background  of  gold. 


III.  Stairway  and  balustrade 
of  club  building  in  Rotterdam 
executed  in  the  Delft  gray. 


IV.  A  banking  room  at  the 
Hague,  executed  in  soft  greens. 


PAGE  FORTY-SIX 


ROYAL-DELFT  FAIENCE 


I.  Porch  of  exhibition  build¬ 
ing  at  Delft;  an  exterior  in 
grays,  greens,  and  browns. 


II.  Drinking  fountain  in  drug  store  at  the  Hague, 
showing  special  panels. 

HI.  General  view  of  exhibition  room  at  the  Hague — 
a  striking  treatment  in  reds  and  blacks. 

IV.  A  game  shop  in  Rotterdam,  in  white  and 
yellow,  where  the  beauty  and  cleanliness  of  the  tile 
are  found  to  be  distinct  assets. 


1  1  -tj* 

/f 

/ 

PAGE  FORTY-SEVEN 


PARDEE  TILES 


KITCHEN 


TILE 


FOR 


EVERY 


ROOM 


I  N 


THE 


HOUSE 


PAGE  FORTY-EIGHT 

!  i 

I  L.WAY 


EiiKiaveii  and  Pritiletl  in  U.  S.  A. 
by  Tlie  Beck  Ens'avingCo.,  Phila. 


